Journal Archive: Letterpress

With letterpress printing, we consider every color a “spot color.” That means that every color has its own plate, and the ink is mixed to the specified color and added to the press. A two-color print will have two plates and two press runs. But what if you want a third color without the expense of a third plate?

One trick we love to use is called Overprinting. The two color plates are carefully registered to print over top of one another using semi-transparent inks. Because the inks allow light to pass through, the colors will appear to blend almost as if you were mixing paint. Red and blue makes purple. Yellow and Orange makes Red. Blue and Yellow makes Green.

If you need a specific Pantone-matched third color, another press run will be necessary. But for the right design, overprinting can add color and curiosity to your letterpress project.

You have probably seen beautiful prints on soft, textured paper that sings when combined with a signature letterpress bite. In this skill session, we’ll shed some light on how to explore the world of paper for yourself, and to communicate clearly with your printer so you receive the results you desire. We’ll talk about all the different weights, calipers and finishes, and what it all means in relation to your project. And we will give you plenty of resources to learn more.

Start exploring papers with paper-mill swatch books.

Paper mills (“mill” is the term used to describe a paper manufacturer) all distribute swatch books of their products. A paper mill will usually have several line names or brand names that it produces, and each will have its own swatch book. Inside, you will usually find a waterfall of paper samples along with the color names, available weights and finishes. They often include examples of fine printing techniques on their papers. In the Resources section below, we have links for you to order swatch books for yourself.

It’s good to have a soft side.

Every paper has its own personalty on the press. Before you pick a paper, it’s best to decide what you want to express. Do you want your prints to have a soft, delicate, pillow-like impression profile? Or do you want to give your prints a deep, chiseled indentation?

Here are some examples of the kinds of papers you can choose, and the impression that results:

1. Crane’s Lettra. This example features 220lb Crane’s Lettra, a 100% cotton paper designed specifically for letterpress printing. It has soft, pulpy fibers that give it the feeling of hand-made art paper.
2. Neenah Classic Crest. This is a fine example of a high-quality “commercial” style sheet, generally designed for offset printing. It prints beautifully with letterpress, too. You can see how the hardness of this sheet is less yielding to the letterpress impression. It gives the letterforms a chiseled appearance when viewed up close.
3. French Muscletone. Though this paper is made of 100% recycled wood fibers, it has a softer finish more similar to the cotton paper.
4. Wild 35% Cotton. This paper has a unique surface texture. The added cotton gives this paper a luxurious softness without sacrificing weight and presence in the hand.
5. Mohawk Superfine 120lb iTone. Designed for digital printing, we use this paper for letterpress + digital combination prints.

Weight vs. Thickness

Paper weight does not accurately indicate paper thickness. For example, 110lb Crane’s Lettra Cover is actually slightly thicker than 130lb Neenah Classic Crest Cover. That’s because weight doesn’t take into account the density of the paper. The Lettra is soft and pulpy. The Classic Crest is hard and smooth. It simply packs more fibers into a thinner sheet.

The number to consider when thinking about thickness is the paper’s “caliper.” Paper thickness is usually measured with a device called a micrometer. In the US, it reads in thousandths of an inch, but we use the word “points” as shorthand. A paper that is 40 thousandths of an inch thick (0.040 inches) would be referred to as 40 point. For a handy reference, a dime is precisely 0.053 inches thick, or 53 points.

Paper Finishes

The paper industry uses the term “finish” to describe the paper’s surface texture. Every paper company has their own unique take on what these textures mean, but we have selected some favorites to show here.

• Smooth. Smooth finish papers have no discernable texture. They are smooth and uniform in finish with no discernable texture or tooth.
• Wove. Wove finish is usually similar to smooth, or it may have a subtle mesh finish.
• Vellum. Vellum is toothier, slightly more coarse in texture than wove finish. It is used for stationery because the texture makes it great for writing.
• Eggshell Finish. Similar to the texture of an egg. Toothy and slightly textured. Very similar to vellum finish paper.
• Linen. Linen finish paper has the texture of linen fabric. Linen fabric is made from the flax plant, but a linen paper is not an indication that it is made with flax fibers. Instead, this is a finish that is added to the paper to resemble the fabric.
• Laid. Historically, this finish was the result of a handmade paper making process that used a wire mesh to form the paper sheets. Modern laid finish papers add the texture as an effect in the paper, similar to the way a watermark is added. It imparts the paper with a unique, classic look.

Paper Makers

French Paper Company – http://www.frenchpaper.com
Mohawk Paper – http://www.mohawkconnects.com
Neenah Paper – http://www.neenahpaper.com/
Reich Paper – http://www.reichpaper.com/
Domtar Paper – http://www.domtar.com

Learn more about paper

Legion Paper – http://www.legionpaper.com/
Visit their “our papers” section for photographs and descriptions of many great commercial and fine art papers.

Paper Specs – http://www.paperspecs.com/
A subscription service that gives you easy access to swatches and resources. Also free galleries, blogs and videos.

It all started with movable type.

Letterpress, once the standard method of printing, was almost lost due to the age of digital reproduction.

Any good letterpress background starts with the introduction of Johannes Gutenberg. Gutenberg was the visionary who invented a system of movable type and a compatible printing press that enabled mass duplication of the printed word. In Europe, starting in the 1450’s and for the next 500 years, Gutenberg’s revolutionary movable type was the method that most mass-produced printing was achieved.

Letterpress printing had a good long run, but around the 1950’s, technology began to progress rapidly, and so began a slow decline of the process. New techniques like offset printing came onto the scene and added such unfortunate things as “speed” and “efficiency” to the printing experience. Even with the improvements that the 20th-century brought, letterpress was still a slow and methodical process that required the labor of many skilled craftspeople. Letterpress hung on commercially into the 1980’s, until computers, copy machines and digital presses dealt the final blow. Sadly many letterpress machines were melted down for scrap in these dark years. What happened next was unexpected, and very interesting.

Right as the Internet revolution hit us full force in around the year 2000, interest in letterpress printing began to re-emerge. As technology pushed us further away from the hands-on traditions of printing and graphic design, curiosity for the old ways was growing. Graphic designers began to realize that letterpress printing could help them express a quality and authenticity that just can not be replicated with modern methods. Luckily there was still a lot of letterpress gear out there that hadn’t been turned into toaster ovens. By this time it was available at affordable prices, and sometimes scrap value. Because of this new financial accessibility of equipment, start-up artists and craftspeople could get their hands on some of the best letterpress equipment ever made. This renaissance did not just start up where letterpress left off though; Instead, a new way was found to combine modern digital design techniques in a way that embraced the advantages of new technology while retaining the traditional hands-on quality of a beautiful old craft.

The most notable new addition to the letterpress process was the development of the photopolymer plate. Letterpress is a “relief” printing process. This means that the printing surface is raised to accept ink, and then pressed directly onto the paper to create a reproduction of the image. The raised surface can be anything that fits into the press. Movable type, carved wooden blocks, or, in this case, photopolymer plates. These plates can faithfully reproduce digital artwork in extremely high detail. Photopolymer plates are also made of a very strong material that can easily resist the tons of force that are applied by letterpress presses. In fact, they are stronger than movable type, and less prone to damage when pressed with enough force to imprint deeply into paper. Thus, the modern and now iconic “deep letterpress impression” was born. When combined with soft cotton paper, photopolymer plates allowed this new generation of artists to print beautiful, tactile stationery, invitations and art prints, with a signature deep impression that is only possible with letterpress printing.

The deep impression that is created during this process helped to differentiate letterpress from other printing methods available. With these deep impression that you can see and feel, you know you have a real, authentic letterpress print. The true craft of the process is able to shine through; It was no longer just a method to get ink on paper. At this point it had been made clear that letterpress is, and always was, a form of artistic expression.
Once a method for mass production that met its demise due to its slow and time-consuming nature, letterpress was reborn and has been allowed to gain new respect for its very special qualities. Because of it’s need for hands-on skill, it’s connection to the past, and its unmistakable tactile impression, letterpress is here to stay as one of the most authentic techniques available in the graphic designer’s toolkit. Much of the surviving letterpress equipment is in the hands of people who cherish the machines and process. These craftsmen and women are keeping them well-loved and well-oiled, carrying on Gutenberg’s printing tradition in new and interesting ways.

We’re excited to feature these hang tags because they are a great example of how to use letterpress to create an authentic presence for your brand. Black ink + a cool design + recycled chipboard creates something that looks ancient and fresh at the same time. We love it. Design by Ps&Qs. They are an online and retail shop based on South Street in Philadelphia, PA. Check them out at https://psandqs.com/.